In the summer of 2008, my sculpture focused on conceptual ideas based in Modernism and Postmodernism. Fusion of different styles and the disjunction of old and new inspired the process and materials. Through the juxtaposition of my interpretation of both concepts and materials, I wanted the focus of my work to be on both form and process while bringing it into a Postmodernist context. Currently, my sculpture has evolved in regards to concept and content. This thesis is an in depth study of my creative, visual, and social process, and my growth as an artist.

I should like to have completed this process by having this project bound so that it read from right to left instead of the traditional manner in which we have learnt and been taught to read. In partaking of such an activity, it would have been my purpose and intention to share with you my sense of physical discomfort that has situated itself beside me at various stages from the on-set of my research. Because I believe in this process, I have decided to follow a traditional approach, and as you can see it reads as it should from left to right. In the introductory phase of this study, I assert quite unequivocally that this is not a thesis. Instead I promote this as a prolegomena; an interlocutory prolusion. But don't be deceived! This is very much a thesis. It has been researched according to guidelines, formatted according to specifications and ethically undertaken. I want you to believe that it is a thesis. Partially because I have pursued this research in a very serious manner and also because no matter how much we try to avoid becoming enmeshed in a system, ultimately we find that we are. Three years ago I embarked on a quest. At this time, I proposed that I would undertake a study on the Historical Understandings of passion throughout the Western World. This idea came to a sudden and dramatic halt, through the encountering of what I should like to refer to as a series of problems. In order to do justice to my subject, I decided to write about these obstacles, a decision that I hoped would lead me back to my original statement of intent, following their reconciliation. It is Michel Foucault, that I credit with the title for this thesis. After reading his book entitled "This Is Not A Pipe" (1982) I felt a certain sense of inspiration and ethical obligation that I considered worth taking the risk for. Due to no longer writing a thesis on passion, I decided that this could not be called a thesis. It could only be an introduction to my thesis that would speak about why it had become impossible for me to pursue my thesis at this stage. The other reason that this carries the title of this is not a thesis, surrounds my favouring the post-modern over any other position that I have inquired about. This prolusion involves a discussion surrounding many of the problematics associated with my research processes. These include extensively looking at existing methodologies available when undertaking research today. Adjunct to the illumination of these problems, I look at literary disruptions; my penchant for knowledge and my naive aspirations which all contributed to thwarting my journey into completing an adequate study on passion. Included in this prolegomena, are two diagrammatic representations of passion. The first seeks to re-inscribe through re-presenting passion away from its traditional juxtaposition with love or sexual gratification. It re-presents passion as a polyvalent movement that is vastly more complicated than that to which we have come to believe in through out the centuries. Accompanying this depiction, are the traditional notions of passion. This is based on the works of authors such as Aquinas, Daly, Cicero and McLellan. In the conclusion of this prolusion, I suggest that there is a need to re-write a new methodology. One that transcends our current juncture that promotes stances belonging to foundationalism, anti-foundationalism and non-foundationalism. It is my ardent belief, that this is a necessary course of action and will enable the subject of passion to be spoken to as never before.

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período. / This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

The aim with this thesis is to investigate how the creative element of the compositional process can be improved, and to research how a composer can develop and sublimate his or her aesthetics. As a part of the research process two pieces of music have been composed, one for the chamber ensemble Norrbotten NEO and one for the symphony orchestra NorrlandsOperans symfoniorkester. The compositional processes of the two pieces are described in detail and the thoughts and ideas that emerged during the two separate composing processes are the main basis of the concluding discussion of this thesis. The thesis also contains a more theoretical section where creativity, learning styles and the aesthetics of the modernistic era, among other things, are discussed. The final section of the thesis is a concluding discussion that argues that one effective way to improve the creative flow in the compositional process is to initially not work with exact pitches. Regarding aesthetics the thesis claim that aesthetic values are uttermost personal and that it therefore is pointless for a composer to try to acclimatize to the surrounding world. The thesis contends that it is preferable for a composer to try to understand his or her own aesthetic values and thereupon, in a personal and genuine way, share them with the rest of the world.

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período. / This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

Orientador: Elisabete Monteiro de Aguiar Pereira / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-05T15:06:19Z (GMT). No. of bitstreams: 1 Lourenco_ElianaBernardes_D.pdf: 23392414 bytes, checksum: c78080fe4d3555916118f446c34bb31e (MD5) Previous issue date: 2005 / Doutorado / Politicas de Educação e Sistemas Educativos / Doutor em Educação

Society is in a tumultuous state. Today’s Western society is characterized by disillusionment, doubt, irony, fragmentation and plurality. With the failure of Modernism and the rise to prominence of Nihilism, Post-Humanism, Post-Structuralism and Individualism, society has entered a thoroughly Post-Modern era. Over the past couple of decades humanity has increasingly turned to Information Technology as the great enabler. Through the capabilities that Information Technology offers, undreamed heights of scientific and technological progress have been reached in an amazingly short span of time. However, rather than uplifting and emancipating society, the wholesale implementation of Information Technology has brought with it a host of unintended and unforeseen consequences. As with the promises of Modernism, Information Technology has not brought society the Utopia that it imagined. Information Technology rather has acted to create a universe characterized by virtuality, constant change, indeterminacy, and an information orientated perspective on the world. Technological progress has not been accompanied by social progress. Through a comprehensive literature review and an examination of both Post-Modernism and Information Technology, it is proposed that the influences of Information Technology have acted and continued to act to promote Post-Modernism. These influences amongst others include its displacement of space and time, its promotion of the Information Society, its ability to create digital hyperrealities, its destructive influence on tradition and culture, and most of all its catastrophic/revolutionary impact on the identity. Through these influences this paper seeks to prove that Information Technology acts an agent of Post-Modernism. / Dissertation (MCom (Informatics))--University of Pretoria, 2008. / Informatics / unrestricted

Passagenhuset, a historical building marked green by Stockholm City Museum, is under threat. In the 2017 proposal by Pembroke, it is to be demolished and replaced with a 14-storey tall glazing building. The protest against this proposal paused the demolition of Passagenhuset. There has been a renowned aggressive preservation culture in Sweden. The protest for Passagenhuset and Almstriden is merely the epitome of the culture. However, the city of Stockholm is unavoidably being transformed for the function of the next decade, probably in a violent way unfortunately. The contradiction shows the incapability of aggressive preservation, which could be a hinder instead of a solution when it comes to city development.  Therefore, Hasten 21 has become the object of the preservative reuse experiment. In the preliminary structure preservation, a new interior space of the building has to be implemented, in order to make the contemporary function possible within its chassis. And the study of new tensegrity structure opens the opportunity for the adaptive reuse of Hasten 21. / Passagenhuset, en historisk byggnad som är grönmarkerad av Stockholms stadsmuseum, är hotad. Enligt Pembrokes förslag från 2017 ska det rivas och ersättas med en 14 våningar hög glasbyggnad. Protesten mot detta förslag pausade rivningen av Passagenhuset. Det har funnits en erkänt aggressiv bevarandekultur i Sverige. Protesten för Passagenhuset och Almstriden är bara ett uttryck för denna kultur. Stockholms stad håller dock oundvikligen på att omvandlas för det kommande decenniets funktion, troligen på ett våldsamt sätt tyvärr. Motsättningen visar på oförmågan till aggressivt bevarande, vilket kan vara ett hinder i stället för en lösning när det gäller stadsutveckling.  Därför har Hasten 21 blivit föremål för experimentet med konserverande återanvändning. I det preliminära bevarandet av strukturen måste ett nytt interiörutrymme i byggnaden införas för att möjliggöra en modern funktion inom ramen för dess chassi. Och studien av en ny tensegrity-struktur öppnar möjligheten för ett anpassat återanvändande av Hasten 21.

The field of interest in this study focuses on exploring a life skills course in which drama was used, and how first year drama students at Tshwane University of Technology constructed their experience of this, as well as what informed their experience. This research was conducted within the framework of social constructionism, which allows the space for the co-construction of knowledge and meanings. The research questions for this project are thus, how did the first year drama students construct their experience of the life skills course where drama was used as a medium? What informed their experiences? Written accounts were made use of as a form of data collection. Themes were identified in their texts and this was then taken back to the participants to check the meaning generated in the analysis. The findings are relevant to those who deal with life skills in higher education. The aim of the research study was not to find a final answer for the questions posed but rather to provide an interpretation, or analysis, of the constructions contained in the texts. It has provided an alternative body of co-created, co-constructed knowledge. Copyright / Mini Dissertation (MA (Counselling Psychology))--University of Pretoria, 2009. / Psychology / Unrestricted

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